Calls for Papers
Esta página contém ‘calls for papers’ diretamente relevantes para os temas, problemas e projetos de investigação do Curso de Doutoramento Estudos Avançados em Materialidades da Literatura.
This page contains ‘calls for papers’ that are directly relevant for topics, problems, and research projects of the Doctoral Program ‘Advanced Studies in the Materialities of Literature‘.
CFP: “Congresso Internacional Fernando Pessoa 2017”
Deadline for Abstracts: 31 de Agosto de 2016
A Casa Fernando Pessoa encontra-se a preparar o próximo Congresso Internacional Fernando Pessoa, que irá decorrer nos dias 9, 10 e 11 de Fevereiro de 2017, na Fundação Calouste Gulbenkian (Auditório 2), em Lisboa.
Pretende-se que seja um grande encontro que reúna especialistas pessoanos de diferentes universidades, gerações e visões sobre o alcance e a universalidade do legado de Pessoa – estando assim aberto a todos os interessados.
O Call for Papers, que agora se lança, destina-se exclusivamente a doutorandos. Serão apenas aceites propostas de investigadores que estejam a preparar o seu Doutoramento, associados para esse efeito a uma instituição académica, e que à data do envio da proposta não possuam ainda o título de Doutor.
Os interessados deverão enviar, até 31 de Agosto de 2016, a sua proposta para email@example.com, indicando no assunto do email: Call for Papers – proposta.
CFP: “Debates in the Digital Humanities 2017”
Debates in the Digital Humanities
A book series from the University of Minnesota Press
Matthew K. Gold, Series Editor
Lauren Klein, Associate Editor
Deadline for Abstracts: November 2, 2015
Debates in the Digital Humanities seeks to anthologize the best new work in the digital humanities (DH) each year. Possible topics include, but are not limited to:
- The maturation of DH. A full decade after the field’s (re)naming, how might we think about the impact of the field? What are the underlying assumptions of current DH work, and how can they be productively challenged and re-examined?
- Assessing the impact of specific tools and methods. What research results have various DH tools produced? What kinds of inquiries have they helped make possible, and what kinds of difficulties, complications, or complexities are involved in using them?
- DH and its critics. What is the relationship of the field to its critics, either intellectual or institutional? Which issues have been remedied, and which issues remain unaddressed?
- DH, diversity, and difference. How should DH account for diversity and difference–in terms of race, gender, ability, and other areas–across the communities that it sustains, the audiences it addresses, and the projects it supports?
- Who does DH labor? How can the increasingly nuanced conversation surrounding digital labor inform our understanding of the labor involved in doing DH? How might it facilitate the reformation of older practices or the creation of new ones?
- DH and activism. How might DH contribute to the analysis of current events that have placed issues of social justice on the national and international stage?
- DH Pedagogy. How should the digital humanities be taught? When should or shouldn’t DH be taught? What role does DH have to play in various curricula and disciplines?
- DH, the disciplines, and allied fields. How should DH be framed in relation to other humanities disciplines and departments? How do (or might) allied fields such as STS, design, computational social science, information science, and the history of computing inform or be informed by the debates in the digital humanities?
- DH, libraries, and LIS schools. How is DH being integrated into 21st-century libraries? How should it be? To what extent should the research and teaching of DH and LIS programs be aligned?
- DH and institutional contexts–what does DH look like at different educational levels and in institutional types?
- What shared visions exist between DH initiatives and GLAM institutions? What institutional, political, and disciplinary divides complicate those visions?
- DH and its publics. How is DH practiced (or how should it be) when focused on publics outside the academy? What does DH look like when focused on civic advocacy and action?
- Histories and futures of the digital. How might alternate (or additional) genealogies of the field challenge existing formations of DH and suggest future possibilities?
In addressing these and other debates, submissions should take an argumentative stance, advocating clearly and explicitly from a particular point of view. Scholars and practitioners from across the disciplines (regardless of rank, position, or institutional affiliation) are invited to submit 300-word abstracts on these or other topics by November 2, 2015 to the series editor, Matthew K. Gold (firstname.lastname@example.org) and associate editor, Lauren Klein (email@example.com). Collaboratively authored submissions are welcome.
The Debates in the Digital Humanities editorial team will review all abstracts, and authors of selected abstracts will be invited to submit full essays by January 15th, 2016. The team will consult with the authors of selected abstracts about the length of their contributions, which will range from 2000 to 8000 words.
We also welcome nominations of blog posts or other short-form pieces that address the above and related issues.
As the series aims to introduce fully conceived scholarship on issues of pressing importance to the field, this volume will operate on a compressed production schedule. Contributors will be expected to participate in peer-to-peer and editorial review during Spring 2016; revised essays will be due April 1st 2016. The volume will be published in print and online in an open-access edition in January 2017.
Debates in the Digital Humanities is a hybrid print/digital publication stream that explores new debates as they emerge. The call for contributions for the 2018 volume will be announced in September 2016.
CFP: “Narrative and Hypertext 2015”
September 1, 2015
workshop on narrative systems
To be held in conjunction with Hypertext 2015, Cyprus
Papers Due – 12th June 2015
Notification of acceptance – 10th July 2015
Camera ready papers due – 17th July 2015
Workshop – 1st September 2015
This workshop aims to provide an interdisciplinary forum to bring
together individuals from the humanities and technological communities to share work and discuss state-of-the-art research on narrative from both a technical and aesthetic perspective. It follows on from the very successful narrative workshops at HT2011 (the largest workshop in the conference), HT2012 which kick-started a number of collaborations and subsequent meetings, and at HT2013 where several of these collaborations were consolidated into future research projects.
This year’s workshop will principally build upon these previous
successes, and aims to continue to consolidate this community by
providing an open interdisciplinary forum of discussion on key issues
facing the field.
Narrative is a prevalent form of information common in our
entertainment and communications, and key to our understanding of the world and its events. By building better models of narrative along with methods for generation, adaption, and presentation we enable narrative systems to become more effective but also improve our understanding of narrative structures.
There is a growing community of researchers working on narrative systems, hypertext narratives, and machine readable narrative models, for which this workshop seeks to act as a hub to review advances and to discuss what the field might achieve in the coming year.
The hypertext conference has a history of publishing work related to
narrative research ranging from explorations of criticism and the
creation of digital narrative to authoring hypertext fiction and
semantic narrative systems. This workshop aims to support this work by providing an open interdisciplinary forum of discussion on key issues facing the field.
The event is a full day workshop with planned sessions based around presentations of short paper submissions from attendees. As well as the planned sessions we plan to have some serendipitous sessions allowing for free discussion on topics of interest to those attending much like what is seen in ‘unconference’ events. Topics of interest for these sessions will be polled from the participants during coffee breaks at the beginning of the day and over lunch to allowing for serendipitous sessions late morning and at the end of the day. As well as free discussion these serendipitous sessions might include small relevant presentations and technical demos. This structure is based on the highly successful structure of previous workshops. Areas of discussion and relevant topics for the workshop include:
Models of Narrative
Systems for the Presentation of Narratives
Adaptive and Personalised Narratives
Narrative as a method of Knowledge Capture
Social Media as Narrative
Narrative as a lens on identity
Argumentation and Rhetoric
Authorial support systems
Interaction and Narrative
Interdisciplinary collaboration on narrative
Location Aware Narrative
Digital Journalism and Citizen/Collaborative News
Researchers and practitioners working with hypertext or narrative are invited to attend this workshop. Participants are asked to submit a short (between 2 and 5 pages ACM format) position paper on their current work. Authors of papers selected for presentation will be informed 4 weeks after the submission deadline. All the position papers of participants will be made available on the workshop website.
As with last year the workshop will be split into planned and
serendipitous sessions. The planned sessions will comprise of
presentations of work from those with selected submitted papers with time for questions and discussion after each.
The serendipitous sessions will depend on the interests of the
attendees of the workshop and will function in the style of an
unconference. The preceding coffee break to each serendipitous session will allow participants to put forward suggestions for discussion topics, short presentations, or demos. The organisers will then select the most popular activities suggested as the focus for that session.
Papers should be in ACM format, be between 2 and 5 pages long and
submitted as a PDF. The papers should be emailed no later than
midnight GMT 12th June 2015 to Charlie Hargood at
firstname.lastname@example.org. Submitted papers will be refereed and
notification of acceptance sent out 4 weeks later. Accepted papers
will be included alongside the ACM Hypertext conference proceedings in
the ACM Digital Library, and author will have a week to prepare camera
ready papers for submission after acceptance.
you have any questions please feel free to contact the organisers:
CFP: “Digital Literary Studies”
May 14-15, 2015
School of Arts and Humanities, University of Coimbra
- Florian Cramer (Creating 010, Rotterdam University of Applied Sciences)
- Johanna Drucker (University of California, LA)
- Matthew Kirschenbaum (University of Maryland)
- Paulo Franchetti (Unicamp – Universidade Estadual de Campinas)
- Susan Schreibman (National University of Ireland, Maynooth)
Themes and topics
‘Digital Literary Studies’ is an international conference exploring methods, tools, objects and digital practices in the field of literary studies. The digitization of artifacts and literary practices, the adoption of computational methods for aggregating, editing and analyzing texts as well as the development of collaborative forms of research and teaching through networking and communication platforms are three dimensions of the ongoing relocation of literature and literary studies in the digital medium. The aim of this two-day conference is to contribute to the mapping of material practices and interpretative processes of literary studies in a changing media ecology.
We invite researchers to submit papers and posters on projects concerned with the digital reinvention of literary studies. Possible topics include, but are not limited to:
- computational literary analysis (macro analysis, data mining, distant reading, topic modelling, visualization, corpora);
- digital philology (electronic editions and archives, textual databases);
- computational literary creation (automatic generation of text, textual instruments, kinetic texts, locative narrative, etc.);
- the teaching of literature in a digital context;
- peer review and open access (new practices of collaboration, dissemination, transfer and validation of knowledge production).
The ‘Digital Literary Studies’ conference will take place at the School of Arts and Humanities, University of Coimbra on May 14-15, 2015. Paper and poster proposals should be submitted by January 15, 2015 through EasyChair (https://easychair.org/conferences/?conf=eld2015). We also welcome panel proposals (three presenters per panel). All paper proposals must be between 1500 and 2000 words (including references). Authors should provide name, contact details, and institutional affiliation, as well as title, abstract, and keywords for their paper. Authors will be notified of the peer review results by February 15, 2015. Proposals can use any of the following languages: Portuguese, English, Spanish, French, and Italian. Selected articles resulting from the conference papers will be published in a special issue of the journal MATLIT (http://iduc.uc.pt/matlit).
CFP: ELO 2015 Conference: The End(s) of Electronic Literature
Bergen, Norway, August 5-7th 2015
Deadline for submissions: Jan 7, 2015
The 2015 Electronic Literature Organization conference and festival will take place August 5-7th 2015. The conference website is at: http://conference.eliterature.org. The conference will be hosted by the Bergen Electronic Literature research group at the University of Bergen, Norway with sessions at venues including the University of Bergen, Det Akademiske Kvarteret, the Bergen Public Library, the University of Bergen Arts library, and local arts venues. Bergen is Norway’s second-largest city, known as the gateway to the fjords, a festival city and cultural center with a lively and innovative arts scene.
The deadline for submissions of research, workshop, and arts proposals is Jan 7, 2015.
The theme of the 2015 Electronic Literature Organization conference and festival is “The End(s) of Electronic Literature.” This theme plays on several different meanings of “ends.” Topics the conference papers and works will explore include:
Is “electronic literature” a transitional term that will become obsolete as literary uses of computational media and devices become ubiquitous? If so, what comes after electronic literature?
We can also question in what sense electronic literature and digital writing practices are a means to an end. If so, what are the ends of electronic literature? What political, ideological, aesthetic, and commercial ends or purposes do works of electronic literature serve?
In recent years, projects such as the ELMCIP Electronic Literature Knowledge Base have sought to highlight the work of scholars and artists who have worked outside of the mainstream of electronic literature as it has developed as a field, for instance developing research collections based on Russian and Brazilian electronic literature. This conference will seek to shed further light on international communities and practices in electronic literature that have not been widely addressed in the critical literature of the field, those that are located at the “ends” or margins of critical discourse in the field.
Electronic literature is situated as an intermedial field of practice, between literature, computation, visual and performance art. The conference will seek to develop a better understanding of electronic literature’s boundaries and relations with other academic disciplines and artistic practices.
As a laboratory for future literary forms, the field of electronic literature must count the youngest readers among its most significant group of end-users. One strand of this conference will focus specifically on digital reading experiences made for children.
CFP: “Textual Machines”
April 18, 2015
The University of Georgia
– Janet MURRAY, Professor at the School of Literature, Media and Communication at the Georgia Institute of Technology and interaction designer.
– Serge BOUCHARDON, Professor at the University of Technology of Compiegne and author of interactive fictions.
Themes and topics
“Textual Machines” is an international symposium exploring literary objects that produce texts through the material interaction with mechanical devices or procedures. We define “textual machines” as a perspective on literature and book objects where text is “a mechanical device for the production and consumption of verbal signs” (Espen J. Aarseth). From the symposium’s perspective, textual machines are not limited to a specific media or epoch, and include literary objects ranging from early modern movable books, to modern pop-up books, artist’s books, game books, concrete poetry, combinatory literature, electronic literature and interactive fictions. A distinctive feature of textual machines is that they invite readers to traverse text through the non-trivial manipulation of mechanistic devices or procedures: by navigating through hyperlinks, footnotes, marginalia or other semiotic cues, or by answering to configurational, exploratory or writing prompts.
Possible areas of inquiry include, but are not limited to:
Reading textual machines. What common reading functions are shared by textual machines? How do readers navigate, maneuver, explore, configure, probe, play or collate textual machines and their outcomes? What theoretical concepts and analytical tools are best suited to describe the textuality of such objects? How can readings of such objects be recorded, shared, visualized and taught?
Situating textual machines. Beyond the cultural split between analog and digital media, how do the mechanics and affordances of textual machines relate to one another? What communities of readers and authors produce and perform textual machines?
Preserving textual machines. What can media archaeology labs, museums and rare book collections learn from one another in the process of preserving, curating and making textual machines accessible?
The Symposium “Textual Machines” will take place on April 18, 2015 at the Hargrett Rare Book & Manuscript Library at the University of Georgia, Athens, Ga. In parallel to the symposium, the Main Library of the University of Georgia will be hosting the “Textual Machines” exhibit, featuring works of electronic literature from the Digital Arts Library and rare books from the Hargrett Hargrett Rare Book & Manuscript Library.
Proposals are expected by January 1, 2015. They must be sent as an abstract of 800 – 1,000 words (excluding bibliography). Each proposal must indicate the author’s full name, status and institutional affiliation. Proposals should be sent to email@example.com.
CFP: “POST SCREEN 2014: International Festival of Art, New Media and Cybercultures”
November 28-29, Lisbon, Portugal.
Organization: Centre for Research and Studies in Fine Arts (CIEBA), Faculty of Fine Arts of the University of Lisbon (FBAUL)
Articles (3-4 pages or 2000-2500 words) pre-submission | DEADLINE : June 15, 2014
Notification of article’s acceptance or rejection: July 10, 2014
Articles (5-6 pages or 3500-4000 words) final submission for publishing: August 31, 2014
Since the mid-20th century, technological development has been growing to such an extent, that it became an inescapable influence in everyday life of contemporary society. The use of portable cameras, the easy and widespread access to video and photo editing softwares, the use of social networks, as well as interactive games are part of the personal, professional and social daily routine of every individual.
The subject of the POST SCREEN Festival 2014 will be “Device, Medium and Concept“. Recognizing that these aspects exist in a hybrid territory whose borders are sometimes very faint and not always possible to distinguish, we intend to discuss the use of screen-based “devices” (traditional, analog or digital) as a tool used in artistic practices and social behaviours; the screen as “medium”, entails the production and archiving of works of art, cultural and social activities, exclusively generated through technological screens making use of intrinsic technological attributes that a given medium provides; the screen as a “concept”, refers mainly to the aesthetic, phenomenological and social aspects that involve the idea of screen. With these aspects we intended to reexamine some of several issues concerning art and culture mediated by screens.
The Festival will comprise a cycle of conferences, a group exhibition of artworks in a virtual gallery and workshops. This event aims to gather a number of experts in diverse fields of research and artistic practice and promote an interdisciplinary discussion and an exhibition of creative productions on emerging issues related to the use of new technologies (moving image, sound, digital images, virtual reality, immersive environments, network cultures).
Conference website: http://postscreen.fba.ul.pt/#/intro
[publicado a 1 de junho de 2014]
CFP: “Unknown Format” | “Formato Desconhecido”
MATLIT: Revista do Programa de Doutoramento em Materialidades da Literatura
Volume 2.2 (a publicar em dezembro de 2014)
Organizadores: Sandy Baldwin (West Virginia University) e Dibs Roy (West Virginia University)
Prazo: 31 de agosto de 2014
Files and directories, characters and pixels. There are others: mp3, docx, RFID. What is the materiality of these curious and ubiquitous objects? Or rather, of these formats – what is the materiality of formats? Formats cannot be understood in the Kittlerian terms of a readable trace of withdrawn yet mediating a priori. To explain a “file” as current differentials in a silicon substrate only demonstrates the failure of explanation. They may be closer to Michel Foucault’s understanding of discourse as possessing “repeatable materiality” that is “of the order of the institution rather than of spatio-temporal location” (103). Through its materiality, a “statement circulates, is used, disappears, allows or prevents the realization of a desire, serves or resists various interests, participates in challenge and struggle, and becomes a theme of appropriation or rivalry” (105). Yet formats are physical in ways that statements are not. A graphical character on a computer screen is precisely determined in its appearance – its display is part of its materiality.
Some questions are necessary.
Firstly, what is the intersection of rights and formats? How is the status of files and directories, characters and pixels, inseparable from questions of agency and interiority? Whether we consider the Wikileaks or NSA or DMCA, the right to copy and delete formats is precisely formatted.
Secondly, what of the contingency of formats? Pixels are refreshed every few milliseconds. Formats materialize through flows that are subject to breakdowns and viruses. Formats are dispersions, scatterings and emissions as much as containers and processes.
Finally, what interventions are possible in formats? The form of the format determines rewriting and transcription – again, in Foucault’s sense of “repeatability” – but what procedures are open to us to intervene in this form?
The etymology of format is in the Latin phrase formatus liber, meaning “the shape of the book.” For this issue of MATLIT, we welcome submissions that address these questions as the site of “the literary” today: the materiality of formats as literature.
Furthermore, we welcome submissions that take formats and test their materiality in other domains outside of the computer. What about MLA format, Robert’s Rules of Order, Braille, or barcodes in passports? How far can we understand subjectivity as a file in a directory, or as a character on a screen? And how can the repetition of formats in this way be understood as part of their “literariness”?
DEADLINE: Articles of approximately 5000 words must be submitted by August 31, 2014. Authors will be contacted with decisions by October 31, 2014. Authors must register with the journal’s online system and submit articles in this manner. The “About” section of the journal website has information on the journal’s scope and submission guidelines (http://iduc.uc.pt/index.php/matlit/about). Feel free to contact the issue editors with questions: firstname.lastname@example.org and email@example.com
[publicado a 20 de maio de 2014]
CFP: II Encontro Português de Literaturas Ibero-Americanas
Nos 100 Anos de Adolfo Bioy Casares, Julio Cortázar, Nicanor Parra e Octavio Paz
Faculdade de Letras da Universidade do Porto
6-8 de Novembro de 2014
Prazo: 15 de Junho de 2014
Instituto de Literatura Comparada Margarida Losa
Núcleo de Estudos Ibéricos e Ibero-Americanos
da Universidade Nova de Lisboa
Casa da América Latina
Procurando dar sequência ao I Encontro de Literaturas Ibero-Americanas que teve lugar no Porto em Outubro de 1998, e que reuniu dezenas de escritores e estudiosos dos vários países hispânicos, o Instituto de Literatura Comparada Margarida Losa, o Núcleo de Estudos Ibéricos e Ibero-Americanos da Universidade Nova de Lisboa e a Casa da América Latina promovem, nos próximos dias 6 a 8 de Novem¬bro de 2014, um Encontro comemorativo do centenário do nascimento de quatro dos mais impor¬tantes escritores da literatura em língua espanhola do século XX: Adolfo Bioy Casares (n. Buenos Aires, Argentina, 15 de Setembro de 1914), Julio Cortázar (n. Ixelles, Bélgica [Embaixada da Argentina], 26 de Agosto de 1914), Nicanor Parra (n. San Fabián de Alico, Chile, 5 de Setembro de 1914) e Octavio Paz (n. Cidade do México, México, 31 de Março de 1914). Pretende-se que o Encontro proporcione uma reflexão crítica renovada sobre as obras dos quatro ho¬menageados, mas também um debate mais alargado sobre a literatura ibero-americana do século XX, bem como sobre a sua presença e importância na cultura e na literatura em língua portuguesa.
As línguas de trabalho serão Português, Espanhol, Francês e Inglês.
As propostas de comunicação deverão ser enviadas para o email firstname.lastname@example.org até ao dia 15 de Junho de 2014, com os seguintes elementos:
NOME DO PROPONENTE
INSTITUIÇÃO A QUE PERTENCE
TÍTULO DA COMUNICAÇÃO
RESUMO (máx. 150 palavras)
A aceitação das propostas será comunicada por email até ao dia 15 de Julho de 2014.
Entre os dias 15 de Julho e 15 de Setembro decorrerá o período regular de inscrições. A inscrição só será considerada válida após confirmação do pagamento (60 euros; 30 euros para estudantes). A partir do dia 15 de Setembro de 2014, o valor da inscrição será de 80 euros (40 para estudantes).
[publicado a 25 de maio de 2014]
CFP: Text/ures: Books as Objects, from Print to Digital
Deadline: April 30, 2014
November 19-21, 2014 (Paris, France)
Université Paris 8, Les Archives nationales, Bibliothèque nationale de France, École nationale des Arts Décoratifs.
With the support of Labex Arts-H2, EA 1569, and Paragraphe (EA 349), Université Paris 8
Sponsored by ANR program Investissements d’avenir (ANR-10-LABX-80-0.)
David A. Carter (pop-up artist, USA), Bertrand Gervais (UQAM, Montreal), Jerome Fletcher (Falmouth University, UK), Steve Tomasula (University of Notre Dame, USA).
Call for Papers
Text/ures: Books as objects, from print to digital is an international and trans-disciplinary project that explores a wide scope of hybrid objects ranging from artist books, movable books and book sculptures to composite works of contemporary literature and digital books. Situated at a crossroads of literature and graphic and visual art culture, all these works elude labeling. We intend “Text/ures” as an investigation of the links between text and fabric—the way textual material is emphasized, activated even, by paper or digital mechanisms. Who are these objects intended for? Which reading temporality or which temporizing do these works necessitate? How is sense offered, proposed, displayed? More generally, are these book-objects destined to be seen, read, exhibited, unfolded, collected or archived? We would like the proposals to delve into the material and fabric of the textual compositions as well as to focus on the haptic dimension of these three-dimensional unfolding paper structures.
This symposium seeks to explore the intersections between children’s literature, contemporary literature and artist books through their shared history or evolution towards a new form of materiality. We encourage proposals on the following themes as well as those that weave diverging approaches on possible forms of texture in book-objects:
Textures of Children’s Literature
Pop-up books, flip-books, tunnel books, and carousel books can be analyzed from a historical perspective. Hybrid by nature, neither children’s books nor solely artist’s books, they offer a reading dynamics where the realm of childhood and the world of art meet in a variety of experimentations by creating enchanting origami or typographic sculptures. To what extent can we consider pop-up books as sensory objects? How does the reader navigate through the different textures of these books? To what extent can we consider that architecture, kinetic art, photography and cinema may have influenced the texture of animated books? How do they negotiate the refashioning of old media by new media?
Contemporary Textures and Writings
We seek to explore texts whose work with substance, texture and visual forms makes them permeable to the themes captured in artist books. Proposals should investigate the poetic textile in its very materiality by focusing on book-objects and art works whose textures question writing as a purely textual form. Whether we think of W.J.T. Mitchell’s imagetexts and other forms of visual and textual interweavings (Steve Tomasula’s VAS: An Opera in Flatland), or whether we consider layerings (Tom Phillips A Humument), die-cuts (Jonathan Safran Foer’s Tree of Codes), or stitching and weaving effects (Jen Bervin, Mark Z. Danielewski’s The Fifty Year Sword), what is at stake here is the way sense becomes touch generated in the texture of the book-object. Proposals can also focus on the way in which contemporary writings rework the notion of the book—what is a page, a leaf? What is a digital “book”?—and, in turn, question the act of reading. For Johanna Drucker, the temporality of reading is distinct from that of viewing, and thus of visual art: “books are time-based media. They unfold in sequence (fixed or not) over time, require a certain amount of attention, and can’t be taken in in the ‘all at once glance’ mode we have come to believe is the correct way of viewing visual art” (Figuring the Word). Should books as objects be grasped as visual works of art or do they inaugurate a new type of narrative sequencing? How then, do we read the texture of book-objects?
Archiving Texture: Exhibiting, Distributing and Restoring Books as Objects
The three dimensional format of book-objects and their distinct architectural features, also invite reflections on issues of conservation. As Jacques Derrida explains, “consignation aims to coordinate a single corpus, in a system or a synchrony in which all the elements articulate the unity of an ideal configuration” (Archive Fever). In this respect, we might ask ourselves how can we record the heterogeneity of the book-object. More precisely, how do we conserve the plurality of meaning that is woven in the volume, touch, and folds of the text? How do we record the compound sense construction that emerges from the fleeting nature of a reading-performance? How do libraries interact with book-objects? We could also delve into the remediation of texture in its transition from print to the digital, or focus on digital porting with its array of constraints and selections.
Please submit your 300-400 word abstract using the EasyChair Conference system (https://www.easychair.org/conferences/?conf=t2014) before April 30th, 2014. Proposals can be in English or in French and should include a title, biography and contact information of contributors.
[publicado a 20 de maio de 2014]
CFP: “Narrativity and Digital Media”
Volume 10.1, 2014
Deadline: June 5, 2014It’s no novelty that technologies have increasingly involved us in their cybernetic plots and infected the world of the arts in ways never yet observed. Literature, in turn, couldn’t help being infected by devices and features from digital media. Yet, one interesting thing about such contagion between narrative and digital media is the fact that it has been approaching authors and readers besides providing us insights of a world crisscrossed not only by technological but also human practices. They are two sides of the same coin: 1. our perceptions on time, memory and narrativity have changed due to such uninterrupted contagion between these two “possible worlds”; 2. on the other hand we may consider it all just as theoretical oppositions that diverge and / or converge towards a discussion about something – we cannot say exactly what, though! – that has changed.For the Thematic Dossier in the next issue of Texto Digital we expect submissions addressing such view about the literary text’s narrativity and its intersectional possibilities, e.g. narrativity and digital media: the digital narrative; the narrative aspects of games; the influences of digital media on literary narrative; virtual narrativity, temporality and ways to perceive the world; narrative, digital media and memory, and other possible related issues.Besides the Thematic Dossier the journal will be accepting submissions for the following sections: Papers, Interviews, and Book Reviews once their contents are in accordance with its focus and scope. Online submissions and further information at https://periodicos.ufsc.br/index.php/textodigital. Deadline for submissions for the next issue: June 5,2014[publicado a 16 de março de 2014]
CFP: “Materiality and Meaning in Contemporary Literary Studies”
Panel for the 2015 MLA Annual Convention (Vancouver, Canada; 8-11 January, 2015)
Deadline: March 17, 2014
In light of the recent “materialist” or “posthermeneutic” turns, this panel interrogates the growing divide within contemporary literary studies, characteristic of a divide within the humanities more broadly, between frameworks focusing on issues of materiality (broadly conceived to include discussions of media materialities, history of the book, affect, presence, embodiment, posthermeneutics, new materialisms, futures of philology) and those focusing on questions of meaning (interpretation, representation, signification, semiotics, hermeneutics). In his book Inscription and Erasure, Roger Chartier describes a rift between frameworks emphasizing “the immateriality of works and the materiality of texts.” A similar distinction is echoed in Hans Ulrich Gumbrecht’s conceptualization in Production of Presence of an oscillation during the process of reading between “meaning effects,” aspects of representation and signification, and “presence effects,” the material and affective dimensions of texts and readers’ encounters with them.
This panel seeks papers that, in effect, attempt to bridge the divide between these emerging poles, turning an increasingly felt binary opposition into a dialectic or circulation, and insisting on the fundamental inextricability or entanglement (to use Karen Barad’s term) of materiality and meaning, both on the level of textual production and reception (reading/using), and on the level of critical and theoretical analysis.
Please send abstracts of 200-400 words and a brief CV by March 17 to Jacob Haubenreich (jhaubenr(at)holycross.edu).
[publicado a 13 de março de 2014]
CFP: “Digital Literary Production and the Humanities”
GRAMMA | ΓΡΑΜΜΑ: Journal of Theory and Criticism
Issue number 22, 2014
Deadline: June 1, 2014
This issue focuses on the intersection between digitality and literary production as an artistic, academic and teaching practice. It will set out to explore the new paths, with regard to literary expression and creativity, digital technologies have paved as well as the transformative shift that has occurred in literary scholarship and pedagogy with the advent of digital practices.
In particular, this issue seeks to initiate an inclusive and integrated series of dialogues about the new trends and developments that have occurred since the appearance of the first hypertext narratives in the early 1980s in the U.S. By bringing together various voices – practitioners, scholars and educators – from diverse cultural contexts and backgrounds, the essays in this issue will attempt to highlight trends and approaches in terms of how we think, write, read, create and communicate through the digital tools we use.
Our aim is to bring together work which, both within and beyond academic environments, considers how all emergent practices in the literary/artistic, scholarly and educational domain interweave, leading us thus to innovative insights into how the conjoined activity between writers, readers, texts and mediums leads to a new terrain of literary/artistic production, scholarly and interdisciplinary collaboration and software design.
For the 2014 volume of Gramma on digital literary production, papers are invited on but are not restricted to the following or related areas:
* print and digital convergence
* new media pedagogies and tools
* digitality and inscription practices
* reading strategies
* language as code
* digital narratives (poetry, IF, hypertext, augmented reality)
* digital humanities initiatives
Papers should not exceed the length of 7,000 words (including footnotes and bibliography) and should be double spaced. They should adhere to the latest MLA style of documentation and should be submitted electronically in the form of a Word document to the editors of the issue, Tatiani Rapatzikou and Philip Leonard, at the following email addresses: email@example.com and firstname.lastname@example.org
[publicado a 13 de janeiro de 2014]
CFP: “Livro e Materialidade” | “Book and Materiality”
MATLIT: Revista do Programa de Doutoramento em Materialidades da Literatura
Volume 2.1 (a publicar em julho de 2014)
Organizador: Abel Barros Baptista
Prazo: 31 de março de 2014
Parece ter passado o sobressalto a respeito do destino do livro causado em vagas sucessivas pelos familiarmente chamados novos meios. Que o livro não morreu, que o livro até ganhou nova vida, que o livro afinal é insubstituível, que o livro é um instrumento aperfeiçoado e aperfeiçoável, são formulações hoje tão vulgares como as que lhe anunciavam a morte próxima por anacronismo ou desnecessidade. Por outro lado, o debate continua em torno da ideia de reedição do livro: quanto dos novos meios é afinal reedição do livro clássico? quanto do livro clássico é afinal antecipação dos novos meios? Este número de MATLIT (Vol. 2.1) pretende intervir nesse debate centrando-o no problema da materialidade, sugerindo um percurso de regresso a partir da pergunta «o que ensinam os novos meios a respeito da materialidade do livro?»
Dessa pergunta se podem deduzir os tópicos do debate que MATLIT pretende estabelecer neste número: a) materialidade e técnica: o progresso da técnica privilegia a materialidade ou é, desde a própria noção, a exclusão da materialidade?; b) materialidade e instituição: os novos meios envolvem problemas específicos que obrigam a reflectir sobre a possível dependência da noção de livro de um ordenamento jurídico (direito de autor, copyright, censura, liberdade de expressão, depósito legal, etc.)?; c) materialidade e arquivo: existe de facto o livro ou apenas o arquivo, quer dizer, a biblioteca? E a biblioteca é afinal um arquivo?
[publicado a 13 de janeiro de 2014]
CFP: “La novela experimental”
Impossibilia: Revista Internacional de Estudios Literarios
Plazo: 15 de febrero 2014
El monográfico de la próxima entrega quiere reflexionar sobre la novela experimental homenajeando de este modo la producción cortazariana.
En 1963 Francisco Porrúa editó Rayuela de Julio Cortázar. A propósito del cincuentenario de su publicación han sido muchos los acontecimientos que se han sucedido y se seguirán sucediendo durante el 2013 en distintos lugares. Sin embargo, y a pesar de todo ello, la Rayuela de Cortázar no se agota este año.
Más allá del París o del Buenos Aires cortazarianos, de lo que le dijera Onetti a Cortázar, de lo que se haya podido teorizar acerca del diseño de sus mil y una portadas, de las rutas para mitómanos por la Ciudad de la Luz, de sus lecturas o de sus nuevas ediciones, o de las diferentes exposiciones inauguradas; más allá de todo esto, Rayuela y Cortázar siguen jugando con el lector para redefinir la relación entre el escritor, el texto y sus numerosos adeptos.
Cortázar es para Impossibilia motivo de reflexión sobre la novela experimental.
La séptima entrega quiere, por tanto, fijar su atención en esos momentos en los que la composición narrativa se ha caracterizado por una más evidente apertura de miras y una rotura con los prejuicios y condicionamientos. Momentos de creación imprescindibles en la evolución de la novela. Esos experimentos literarios que necesitan romper con las convenciones arriesgando la forma y el contenido desde la vanguardia y la excentricidad, desde la sorpresa, la marginalidad, o desde el rechazo a todo lo conocido con afán de provocación y de radicalismo son los que proponemos revisar para el próximo número.
Narrativa experimental que viene a sacarnos del agotamiento artístico para representar la vida de otra manera, con técnicas renovadas y nuevas formas de expresión.
Estas prácticas narrativas con frecuencia se han apoyado en otras disciplinas artísticas para su mejor consecución. Por eso es que desde aquí, asimismo, invitamos a considerar detenidamente las producciones interdisciplinares en las que las artes visuales, escénicas y musicales han llegado a una interesante conjunción con las artes literarias, especialmente con el arte de escribir en prosa.
[publicado a 13 de janeiro de 2014]
CFP: “Interventions: Private Voices and Public Spaces”
Faculty of Humanities – University of Coimbra (Portugal)2-3 May 2014Deadline for submission: December 20, 2013
Following on from the 2012 graduate conference, “Discourses That Matter,” in this second edition we continue to examine how English and American Studies as academic fields matter in the current state of affairs. However, we will be taking our previous theme one step further by introducing the issue of space and extending our inquiry into matters of subjectivity, privacy, and surveillance. Both the free access to digital information and the post-9/11 security politics have brought to the fore pressing questions of legitimacy that demand a reconfiguration of the public/private dichotomy. This question is actually not new, bearing in mind feminist critics’ powerful argument that the private has always been political, which made access to public space a condition to full citizenship. The dangers entailed in the world of network technologies, the recent WikiLeaks scandals, the revelation of a domestic spying program in the U.S., and suspicions of its existence in other countries, have made us realize the fragility of the balance between personal privacy and public authority, and how easily instances of surveillance sideslip into instances of ‘surviolence.’ On the other hand, the denunciation of private instances of violence or oppression through their exposure in the public space (documentaries, photojournalism, photography, social media), the mobilization of citizens across space through social networks, the invasion and occupation of public space by protesting citizens, migratory movements from postcolonial to postcapitalist spaces (and the entailed disruption of assigned social space), artists turning private bodies into public spaces or occupying public spaces for their artistic interventions, are some of the many instances that complicate our perception of the right to privacy, the limits of public policing, and the creative possibilities around the issue of space.
How can we contribute to a timely and necessary reflection on the reconfiguration of the public/private dichotomy, and how can English and American Studies intervene in this debate? How have literary and cultural studies approached these subjects? Where do we draw the line between public and private nowadays? What spaces are not public? What voices are still private? Is there such a thing as the privacy of public spaces? Is it always negative when private spaces become public? Is it desirable that public spaces are appropriated by private causes? What is the role of social media in our thinking of private/public spaces? What impact do these matters have on the body? And how can interventions be considered as acts of performativity? As interdisciplinary academic fields concerned with entities bearing a common imperial legacy, English and American Studies hold a privileged position for understanding today’s world. From this vantage point, we will try and find how interventions in public and private spaces take place and shape our realities. We invite proposals in the Humanities and Social Sciences from graduate students and early career scholars for 20-minute presentations; papers should address one or several of the following areas:– English and American Literatures– Ethnicity and National Identities– Visual Studies– Cultural Studies– Discourse Analysis– Comparative Literatures and Cultures– Postcolonial Studies– Media, Communication and Cybercultures– Gender and Queer Studies– Performativity Studies
Students who are beginning to pursue their MA or PhD degrees are also welcome to participate in a roundtable, where research projects can be briefly introduced and discussed (max. 10 minutes). Our aim is to provide an informal setting based on cross-institutional collaboration, so as to enable dialogues about current research projects and future working life. Abstracts for presentations should be limited to 300 words, and be accompanied by the author’s name, e-mail address, institutional affiliation, and subject area according to the list above. Students wishing to participate in roundtables should send a summary (100 words) of the topic they wish to discuss, along with the author’s name, e-mail address, and institutional affiliation. Paper proposals and roundtable summaries should be sent to our e-mail address at
email@example.com. Only one submission per participant per category will be considered.The conference will be held in English.
[publicado a 14 de outubro de 2013]
CFP: ELO 2014 Conference: Hold the Light
CFP: ELO 2014 Conference: “Hold the Light” Milwaukee, WI (June 19-21, 2014) Submission deadline: Dec 6, 2013
The 2014 Electronic Literature Organization Conference will be held June 19-21, 2014 in Milwaukee, Wisconsin, with sessions on the campus of the University of Wisconsin-Milwaukee. In conjunction with the three-day conference, there will be a juried Media Arts Show, with exhibits at UWM.
For the Conference, proposals should address critical, reflective, or theoretical questions. Formats may include elements of demonstration or (brief) performance, in context of inquiry or analysis that goes beyond the work itself. Proposers are welcome to discuss their own work, under this requirement.
The Media Arts Show provides an occasion for extended display, performance, and presentation of original works. Please identify submissions for the Show as such.
We invite proposals of no more than 500 words, including a brief description of the content and format of the presentation, and contact information for the presenter(s). Describe any technical needs beyond standard screen projection and audio. Send proposals to eliterature2014 [at] gmail.com, using plain text format in the email, or attached as Word or PDF.
Proposals for the Conference will be reviewed by a Program Committee convened by the Conference Co-Chairs. Proposals for the Media Art Show will be reviewed by a jury chosen by the Media Arts Curator. [publicado a 14 de outubro de 2013]
CFP: “Escrita e Cinema” | “Writing and Cinema”
MATLIT: Revista do Programa de Doutoramento em Materialidades da Literatura
Volume 1.2 (a publicar em dezembro de 2013)
Organizadores: Osvaldo Manuel Silvestre e Clara Rowland
Prazo para apresentação de artigos: 31 de agosto de 2013
O nº 2 de MATLIT abordará uma gama alargada de ocorrências da materialidade e reflexividade da escrita no cinema, tentando reflectir sobre (i) a relação entre escrita e imagem fílmica, as possibilidades de descrição/tradução mútua e os limites semióticos dessa descrição; (ii) a constituição histórica de uma ontologia do cinema por reacção à literatura e o estado actual da questão; (iii) a escrita no cinema, como tema e como inscrição; (iv) o cinema como escrita e linguagem e a linguagem e a escrita como analogias dos processos de significação no cinema; (v) a forma como a materialidade da escrita no cinema nos ajuda a pensar a literatura como inscrição mais do que como ontologia; (vi) a crítica como escrita (sobre o cinema), o lugar historicamente difícil desse «sobre» e a forma como o digital e as novas tecnologias de reprodução ajudam e desajudam a crítica de cinema.
MATLIT: Journal of the Doctoral Program in Materialities of Literature
Volume 1.2 (to be published in december 2013)
Issue editors: Osvaldo Manuel Silvestre and Clara Rowland
Deadline for submissions: August 31, 2013
Volume 1, Issue 2 of MATLIT will address a wide range of occurrences of materiality and reflexiveness of writing in film, trying to think about (i) the relationship between writing and film image, the opportunities for mutual description/translation and the limits of this semiotic description; (ii) the historical construction of an ontology of cinema as reaction to literature and the current state of the question; (iii) writing in cinema, as both theme and inscription; (iv) cinema as writing and language, and language and writing processes as analogies for processes of signification in cinema; (v) how the materiality of writing in film helps us to think about literature as inscription rather than as ontology; (vi) criticism as writing (about cinema), the difficult historical place of this about and the ways in which digital and new reproduction technologies both help and hinder film criticism.
[publicado a 9 de julho de 2013]
CFP: Colóquio Internacional “Figuras da Ficção 4”
Centro de Literatura Portuguesa da Universidade de Coimbra
4-5 de novembro de 2013
Prazo para apresentação de propostas: 30 de setembro de 2013
Na sequência de iniciativas anteriores, o Centro de Literatura Portuguesa/FCT da Universidade de Coimbra promove o Colóquio Internacional “Figuras da Ficção 4”, nos dias 4 e 5 de novembro de 2013. Trata-se de uma reunião científica concebida e realizada no âmbito do projeto de investigação Figuras da Ficção, cujo propósito central é o estudo da personagem, como categoria fundamental do discurso literário; para além disso, o projeto Figuras da Ficção contempla relações transliterárias que a personagem ficcional permite, tendo em conta a sua existência noutros contextos, designadamente não literários (ver http://www.uc.pt/fluc/clp/inv/proj/litpor/figfic). O Colóquio Internacional “Figuras da Ficção 4” incluirá três conferências, por estudiosos de reconhecido prestígio no campo dos estudos narrativos, e doze comunicações em regime de painel. As referidas comunicações poderão ser propostas à Comissão Científica do colóquio, contemplando os seguintes temas:
- Figurações da personagem: procedimentos discursivos, regimes ficcionais, dispositivos retóricos, efeitos cognitivos, etc.;
- Sobrevida e refiguração da personagem: da literatura ao cinema e à televisão;
- Outros estudos da personagem: estudos comparados, estudos pós-coloniais, estudos culturais, estudos feministas;
- A personagem em ambiente eletrónico: hipertexto, hipermédia, hiperficção;
- A personagem no contexto dos media: derivas e figurações.
As propostas de comunicação (a enviar para o endereço firstname.lastname@example.org) poderão ser feitas até ao dia 30 de setembro de 2013, com indicação de título, resumo e vinculação académica do proponente. O período de inscrições para participação sem comunicação decorre até ao dia 15 de outubro de 2013, bastando, para o efeito, o envio de mensagem de correio eletrónico para o endereço email@example.com (preço da inscrição: 20 euros).
Comissão Científica Carlos Reis (coord.)
António Apolinário Lourenço
Maria Helena Santana
Maria João Simões
Marta Teixeira Anacleto
[publicado a 9 de julho de 2013]
CFP: Videojogos2013 – Conferência de Ciências e Artes dos Videojogos
Conferência de Ciências e Artes dos Videojogos é um evento organizado pela Universidade de Coimbra (www.uc.pt) e pela Sociedade Portuguesa de Ciências dos Videojogos (http://www.spcvideojogos.org/). As conferências da SPCV realizam-se anualmente e são um encontro para promover a cultura científica, a investigação e a indústria de videojogos em Portugal. Esta Conferência de Ciências e Artes dos Videojogos conta com a participação de investigadores e profissionais da área dos videojogos para divulgação de trabalhos e troca de experiências entre a comunidade académica e a indústria em articulação com o espaço Lusófono. O tema desta Videojogos será “Arte em Jogo” e pretende evocar perspectivas e reflexões diversas sobre a auto-expressão, a criatividade e os jogos, da parte de autores ou criadores, mas também na perspectiva da experiência do jogador. A Videojogos é um evento multidisciplinar que procura contribuições de diversas áreas do conhecimento, promovendo o estudo e a reflexão crítica sobre práticas e aplicações no mercado e na indústria.
A conferência procura submissões originais, de qualidade, encorajando a participação conjunta da indústria de videojogos e da comunidade académica, explorando uma multiplicidade de formatos: Papers – comunicações científicas ou técnicas sujeitas a peer-reviewRevolving Workshops – espaços paralelos para actividades auto-organizadas pelos proponentes, em formato de circulação aberta, limitadas a 3 horasDemos – espaço de apresentação pública, discussão e experimentaçãoPica-Kucas – palestra/performance de 7 mins para afagar/estilhaçar neurónios, de tema livre e com proposta prévia. Sítio web:
ALGUNS TÓPICOS OU ÁREAS DE INTERESSE
Arte e Estética em Jogos Digitais
Modelação e Animação
Narrativas, História e Personagens
Análise e Crítica de Videojogos
Estudos Sociais, Culturais e de Comunidades de Jogos
Materialidades da Cultura nos Videojogos
Estudos de Media e Transmedia envolvendo Jogos
Jogos de Realidade Alternativa ou Aumentada
Computação em Videojogos (Gráfica, Afetiva, IA, Arquiteturas,etc)
Geração de Conteúdo Interação e Tecnologias de Interface
Design e Avaliação da Experiência de Jogo
Metodologia de Conceção e Produção de Jogos Digitais
Técnicas de Prototipagem e Desenvolvimento de Videojogos
Explorações de Jogos em Contextos Mais-do-que-lúdicos (Aprendizagem, Reabilitação, Comunicação, Gamificação, etc.)
Modelos de Exploração e de Negócio em Videojogos
[publicado a 9 de julho de 2013]
CFP: O dia triunfal de Fernando Pessoa
O projecto Estranhar Pessoa lança um call for papers para o Colóquio Internacional “O dia triunfal de Fernando Pessoa”, a realizar a 7 e 8 de Março de 2014. O colóquio é celebrativo do centenário do dia triunfal de Pessoa, 8 de Março de 1914, e pretende abordar os diversos campos dos Estudos Pessoanos, numa perspectiva de revisão do Estado da Arte em cada um desses campos. Entre os keynote speakers incluem-se Ivo Castro e Richard Zenith. As propostas de comunicação, que não devem exceder as 200 palavras, poderão ser enviadas até 1 de Novembro de 2013 para o endereço de email firstname.lastname@example.org. Para mais informações sobre esta e outras iniciativas consulte o nosso blogue em estranharpessoa.wordpress.com, ou contacte-nos utilizando o mesmo endereço de email.
[publicado a 10 de maio de 2013]
CFP: Thinking With Things: Toward A Matter-Oriented Cultural Analysis
The 19th Annual Charles F. Fraker Conference
November 14, 15 & 16, 2013 at the University of Michigan, Ann Arbor
Submission Deadline: August 15th, 2013
Keynote address: Professor Bill Brown (English and Visual Arts, University of Chicago) Professor Webb Keane (Anthropology, University of Michigan)
In recent years, objects and materiality have received increasing critical attention across a variety of disciplines. One result has been an erosion of the boundaries between humans and things, rendering these categories unstable in a critically productive way. In this conference, we seek to engage with objects as matter and to ask how the material properties of things shape and transform human communities, practices, emotions and world views. What are the stories objects tell, and allow us to tell, in the wake of the blurring of boundaries between humans and things? What are some of the productive ways to address the agency of objects without necessarily consigning humans to a subjugated role (i.e. as victims of western consumerism, as blind idolaters, or as helpless victims of climate change), or without viewing humans solely as dominators and manipulators of objects (for political power, economic profit, or aesthetic pleasure)? What happens, for instance, when we consider humans―human bodies and human consciousness―as matter? Can we still view the relations between humans and objects in terms of power relations alone? Finally, how does taking objects and materiality into account allow us to rethink our engagement as literary scholars with cultural analysis and narratives of cultural change? To address these and other related questions, we invite papers that focus on objects and materiality with the following possible focuses: • Objects in text and texts as objects
• Collections, museums and curatorial practices
• Objects in science
• Things, machines and technology
• Waste, trash and recycling
• Consumerism and globalism
• Objects of pleasure: erotica, sexuality and aesthetics
• Objects and religious practices
• Objects in (Post)Colonial settings
[publicado a 11 de abril de 2013]
CFP: Print, Produce, Publish
College Book Art Association Member’s Conference
January 2-4, 2014 Hosted by the Book Arts Program at the J. Willard Marriott Library The University of Utah, Salt Lake City, Utah Featuring a variety of events including: Members’ exhibition, invited speakers, panel presentations, studio demonstrations, roundtable discussions, student lightning round, vendors’ fair, Salt Lake City area tours, local exhibitions, student member portfolio reviews, members’ showcase, auction, and Corneredundefinedan all-new folded-form exchange Invited speakers:
- Lesley Dill: printmaker, sculptor, and teacher
- Craig Dworkin: poet, critic, editor, and professor
- June 1, 2013
Paper, Demonstration, and Student Lightning Round proposals
- August 15, 2013
Present [ation] Public [ation] Install [ation] Juried Members’ Exhibition entries
- November 15, 2013
Cornered Folded Form Exchange registration/submissions
Please visit www.conferences.utah.edu/cbaa for details
[publicado a 11 de abril de 2013]
CFP: Colóquio Internacional Almada Negreiros
13, 14 e 15 de novembro de 2013 Fundação Calouste Gulbenkian Convocatória Convida-se comunidade científica a submeter propostas ao Colóquio Internacional Almada Negreiros, a realizar em Lisboa, nas instalações da Fundação Calouste Gulbenkian, nos dias 13 a 15 de novembro de 2013. Os autores poderão submeter propostas de apresentação de trabalhos que se enquadrem nas temáticas do Colóquio, abordando revisões do estado da arte ou novas perspectivas de investigação. Tipologia de propostas Comunicações (20 minutos). Normas para a submissão de propostas
- Para as comunicações deve ser enviado um resumo até 3500 (três mil e quinhentos) caracteres.
- Idioma para as propostas: português, castelhano, inglês ou francês.
- Todas as propostas devem ser enviadas para o endereço electrónico do Colóquio: email@example.com .
- Todas as propostas serão objecto de análise pela Comissão Científica.
Data limite de envio de propostas 31 de maio de 2013 Áreas Temáticas Almada como performer de todas as artes; Ingenuidade, Primitivismo e Tradição; O Lugar de Almada na Vanguarda Portuguesa; Leitura das relações inter-artes; Dimensão política da obra de Almada; Geometria (o número e a arte). Sítio web: Colóquio Internacional Almada Negreiros
[publicado a 10 de abril 2013]
CFP: Resurrecting the Book
15-17 November 2013
Deadline for abstracts: Friday 1 February 2013
To celebrate the re-opening of the largest public library in Europe and its outstanding special collections, The Typographic Hub, The Library of Birmingham, Newman University College and The Library of Lost Books have united to host a three-day conference on the theme of Resurrecting the Book. Papers are invited on the Conference themes which include, but are not limited to: books as material objects; collections and libraries; the artist’ s book; e-books; publishing. Further information: http://www.typographichub.org/diary/entry/ressurecting-the-book/ Download the full call for papers here. Abstracts of no more than 400 words accompanied by a 50-word biographical profile should be sent to both Dr Caroline Archer: firstname.lastname@example.org | 0121 331 5871 Dr Matthew Day: email@example.com | 0121 476 1181 Plenary Speakers include Prof Sir David Cannadine: Dodge Professor of History, Princeton University Prof Johanna Drucker: Bernard and Martin Breslauer Professor of Bibliography University of California, Los Angeles Dr David Pearson: Director of Culture, Heritage & Libraries, City of London Corporation Prof Nicholas Pickwoad: University of the Arts, London
[publicado a 19 novembro 2012]
CFP: Digital Humanities: Literary Studies and Information Science
British Modernities Group, University of Illinois at Urbana-Champaign
March 8-9, 2013
Keynote Speaker: Harriett Green, Literature and Languages Library, University of Illinois at Urbana-Champaign
The British Modernities Group invites graduate students to present papers and posters at its eighth annual conference: “Digital Humanities: Literary Studies and Information Science.” This conference will incorporate presentations from faculty and graduate students in a variety of disciplines, including English, library and information science, communication, and education. Keynote presentation from Harriett Green, English and Digital Humanities Librarian and Assistant Professor of Library Administration, will emphasize the importance of dialogue between the humanities and information science. We seek innovative research that studies media or literature from the perspective of information science and/or research that utilizes digital humanities approaches to modern and contemporary British literature (1800–present). The conference will ultimately explore the characteristics, objectives, and productive potential of the methodology now called “digital humanities.” In recent years, literary studies have become increasingly concerned with issues of digital literacies and new media. Beyond converting texts into digital archives—including searchable databases—to broaden traditional literary analysis, literary critics have also questioned how digitization affects the material conditions of reading and writing. In a more practical engagement with digital computing, humanists are themselves employing digital methods for research and teaching. Examples include text mining, topic modeling, network mapping, and multimodal learning techniques. Use of such tools has necessitated collaboration with scholars outside the humanities, particularly in information science. These instances of collaboration promise benefits to all disciplines involved through a mutual exchange of tools and methods. We invite paper, poster, or panel proposals that consider perspectives on media, literature, and information science related but certainly not limited to the following:
- Text mining, big data, and digital archives
- Computer programming
- Digital culture and internet studies
- New media and gaming
- Electronic literature/e-readers
- Systems and networks
- Posthumanism and digital machines
- Collaborative digital projects
- Multimodal pedagogy and digital literacies
- Copyright law and open access
Abstracts of no more than 250 words for individual papers and posters (350 words for fully-formed panels) should be submitted to firstname.lastname@example.org by January 4, 2013. Please include your name, along with your departmental and institutional affiliations. Accepted papers and posters will be notified by January 21, 2013. Visit our website, http://modernities.wordpress.com/, for more information about the BMG.
[publicado a 12 dezembro 2012]
CFP: xCoAx 2013: Computation, Communication, Aesthetics and X
27-28 June 2013 Bergamo, Italy
submit until 31 December 2012
The development of computational tools and media has been radically transforming the landscape for the practice of design, the arts and numerous cultural manifestations. Recognizing this, xCoAx is designed as a multi-disciplinary and nomadic enquiry on arts, computers, computation, communication and the elusive x factor that connects them all. xCoAx is a forum for the exchange of ideas and the discovery of new and profitable synergies. It is an event exploring the frontiers of digital arts with the participation of a diverse confluence of computer scientists, media practitioners and theoreticians, that will focus on the relations between what can and cannot be computed, what can and cannot be communicated, what is beautiful and how humans and computational systems intersect in the development of new directions in aesthetics. Conference web site: xCoAx 2013</a
[publicado a 19 novembro 2012]
CFP: Chercher le Texte: Locating the Text in Electronic Literature
The Electronic Literature Organization 2013
Conference Hosted by Université Paris 8 Paris, France, September 24-27, 2013
Deadline for Abstracts: December 31, 2012.
Keywords: e-literature, electronic literature, e-lit, digital literature, literature, world literature, literary semantic web, literariness, new materialisms, new media, locative media, archiving, language, actor-network theory, cognitive capitalism
The Electronic Literature Organization (http://eliterature.org), the leading organization devoted to electronic literature, announces its 2013 conference to be held in Paris, France, September 24-27, 2013, in collaboration with Université Paris 8. Proposals are welcome on topics within electronic literature, including but not limited to:
- Digital culture
- Code and software studies
- Digital art
- Translation of electronic literature
- E-literature and the body
- Digital poetics
- Digital storytelling
- Mobile/locative media
The conference title is “Chercher le Texte: Locating the Text in Electronic Literature.” Electronic literature is explicitly defined as literature. Yet there is great confusion about the concept of text at work in it. What defines the textuality of games, visual works, and works without any evident language? The ELO 2013 conference in Paris will confront such issues: to seek out the text and attempt to define the literariness of electronic literature. Over the past two decades, while numerous creative and critical movements have taken hold within and without academia, creators have been newly conceiving, and scholars resituating, literary works in new media. Early warnings that we might all get “lost in hyperspace” were overcome fairly easily – perhaps too easily when one considers that our first, most challenging conceptions of electronic writing have never quite been realized. Is there a way to mark the multiplicity of new writing in new media? Can commonalities and distinctions among emerging literary practices be noted? Are there new possibilities for language-based forms in programmable media? Can scholarly discussions surrounding works be carried on over time and among various groups, in the media where the works are generated? ELO 2013 seeks to open the discussion beyond the remediation of literary writing from print to screens, by looking at ways that literary works, and “literariness” generally, circulates through a world system that has itself altered dramatically in the years since the first works of e-lit were produced. New media, from this perspective, are just the most visible instance of emerging economic, social systems, remediations, and subjectivities that impact literary production (as they impact our lives) from every side. New media are now being described, and re-imagined, in terms of new materialisms; discourse networks find new and different alignments within and without institutions, and both human agency and authorial presence have taken on new and sometimes strange forms. The Electronic Literature Organization and Université Paris 8 invite individual paper proposals, panel proposals, and proposals for alternative formats. Submit abstracts of 200-500 words to Easychair at https://www.easychair.org/conferences/?conf=elo2013. Send questions to Joseph Tabbi <jtabbi at gmail.com> or Philippe Bootz <philippe.bootz at univ-paris8.fr>. A separate call for creative works will be issued shortly.
[publicado a 14 novembro 2012]
CFP: E-Poetry  London – Kingston New Works, New Frames
June 17-20 Maria Mencia, Local Convener
Deadline for Submissions: Dec. 1st, 2012
Full details: http://epc.buffalo.edu/e-poetry/2013/E-Poetry-2013-Announcement.pdf
Proposals for Scientific/Scholarly Papers (15 minutes) or Creative (Performances/Readings/Hybrid Talks of 15 or 30 minutes) should consist of a 250 word description of the aims, content, methodology (or artistic frame), and conclusion (or artistic goals) of your presentation. Of greatest interest are alternate paths of thinking, new works to ponder, open frames, direct impressions, a sense of what we see. Whether strictly scholarly rigor, poetic inspiration, or interwoven critical and artistic experimentation, we seek your views. Send your proposal, with the subject line “E-Poetry 2013 Proposal” to email@example.com with a cc: to Laura Shackelford, E-POETRY [ 2013 ] Proposals Coordinator (firstname.lastname@example.org) by deadline date. Early submission is encouraged due to the highly competitive nature of this festival.
DEADLINES: Proposals for Scientific/Scholarly Papers and Performances/Readings/Hybrid Talks will be due in December 1, 2012, with notifications of acceptance by January 15, 2013. Early registration deadline: March 1, 2013.
[publicado a 14 outubro 2012]
CFP: 2ª Conferência de Banda Desenhada em Portugal
A banda desenhada pode ser entendida enquanto arte e disciplina artística, meio e modo de expressão, mas também uma rede específica de relações sociais e uma tecnologia, um conjunto de instituições e uma relação económica. Isso permite que possa, a um só tempo, ser estudada por disciplinas tão variadas quanto a estética, a teoria da cultura, a economia, a sociologia, a semiologia, a narratologia, a mediologia, a psicanálise, os estudos pós-coloniais, os estudos feministas, a queer theory, a história da arte, a história do livro, assim como estruturações muito específicas dos discursos desenvolvidos no interior da área dos já chamados Estudos de Banda Desenhada (Comics Studies) como do cruzamento interdisciplinar entre as disciplinas indicadas ou além delas. É também desejo das CBDPT dar a conhecer ao público português algumas das personalidades mais influentes da investigação internacional da banda desenhada, pelo que se tentará sempre contar com a presença de um ou dois convidados de referência. O ano de 2011 contou com David Kunzle, um dos primeiros grandes proponentes do estudo específico da banda desenhada, mormente numa perspectiva histórica marxista, e Thierry Groensteen, autor de Système de la bande dessinée, incorporação da abordagem semiológica a esta disciplina artística, bem como de muitos outros volumes, e que proporcionou alguns princípios de análise rapidamente adoptados ou criticados no campo. O ano de 2012 também tentará garantir a presença de pelo menos um keynote speaker internacional.
Todas as propostas deverão ser enviadas até 1 de Julho de 2012 para o seguinte endereço electrónico: email@example.com As sessões de apresentação e discussão públicas terão lugar durante a CBDPT 2012, no Auditório da Biblioteca Municipal de Lisboa Orlando Ribeiro, em Telheiras, Lisboa, nos dias 28 e 29 de Setembro. Mais informações em: 2CBDPT 2012
[publicado a 20 maio 2012]
CFP: What Is the History of (Electronic) Books?
Four decades after the launch of Michael Hart’s Project Gutenberg and three decades after the publication of Robert Darnton’s seminal essay, “What Is the History of Books?,” are we able to start telling the history of electronic books? If so, what are the ways by which authorship, publishing, reading, and scholarship have been influenced, shaped, or changed by electronic books? Do electronic books transmit texts in new ways? What relationships do electronic books create or threaten amongst authors, publishers, and readers? What does it mean to collect and curate electronic books? The Papers of the Bibliographical Society of Canada (PBSC) is seeking essays for a special spring 2013 issue on the history and future of the electronic book. Papers are invited from scholars of any nationality on aspects of the production, dissemination, and uses of electronic books, as well as the relationship between printed books and their digital counterparts. Although several initiatives like Implementing New Knowledge Environments (INKE), as well as scholars like Raymond Siemens, David Gants, Julia Bonaccorsi, and Ian Lancashire, are working in this area, our investigations are still in their infancy. Primary research on new subject matter in this emerging field is welcome, as are syntheses of or critical engagements with existing studies. Topics may include electronic books in relation to the future of scholarly communication or the economics of publishing, the history of popular or academic electronic book collections like Early English Books Online (EEBO), ACLS Humanities E-Book (HEB), or Google Books, the relationship between readers and devices like the Kindle, Nook, or Sony Reader, the materiality and form of electronic books, the digital transmission of texts, and the act of reading electronic books.
Submissions in either English or French of no more than 9000 words should be sent as .doc or docx attachments to the issue’s guest editor, Geoffrey Little (firstname.lastname@example.org), by 1 September 2012. The submission should include an abstract of no more than 200 words and a short biographical statement. Articles receiving a favourable peer review must be resubmitted by 15 January 2013 for publication in the spring. In matters of spelling and style, PBSC follows the Canadian Oxford Dictionary and the Chicago Manual of Style, 16th edition (2010) (footnotes). The guest editor welcomes queries at any time. The Papers of the Bibliographical Society of Canada is peer-reviewed. Articles are indexed in America: History and Life, the Canadian Periodical Index, and the MLA International Bibliography. Contents are also listed in the Recent Periodicals section of The Library. [publicado a 09 maio 2012]